PSB Speakers 6919217 User manual

Brand: PSB Speakers

Model: 6919217

Category: DJ controllers

Type: User manual

PSB Speakers 6919217, the Synchrony system, is a high-performance loudspeaker system that brings together the latest advances in cabinet design, driver technology, and crossover design, resulting in a line of systems of truly elegant design with superior sound quality.

The Synchrony models are distinguished by their use of a unique cabinet construction that blends the strength and rigidity of aluminum with the natural damping properties of wood. This results in a cabinet that is exceptionally inert, producing sound that is free from unwanted resonances.

The drivers used in the Synchrony system are also of exceptional quality, featuring a number of enhancements that elevate them over previous components. The woofers utilize a laminated sandwich cone that is both stiff and well-damped, providing clean and accurate bass response. The tweeters feature a titanium diaphragm and neodymium motor, delivering crystal-clear highs.

Owner’s Manual

Synchrony Series

Guide d’utilisation

Manual de Propietario

Congratulations on purchasing your new PSB Synchrony loudspeaker.

We hope that you enjoy our product for many years to come. This

owner's manual will give you many useful tips about connecting, placing

and using your loudspeaker. We recommend you read it thoroughly and

it should answer all of your product related questions. If not, feel free to

Synchrony design background

A little technical background might give you an appreciation of the

technology that went into the design of your Synchrony product.

Our intention in designing the PSB Synchrony range of products was to

bring to bear all that we have learned in 35 years of crafting fine

loudspeakers to create a line of high performance systems of truly

elegant design.

The Synchrony models use advances in three core technologies, the

cabinet, the drivers, and crossover design.

THE CABINET

Cabinets for a high performance loudspeaker must be heavy, rigid and

vibration free. Sound must come from the drivers only, never from the

cabinet itself.

Cabinets for Synchrony models are unlike any other. They are a blend of

two very different materials: aluminum and wood. Front and back

surfaces are from very solid double wall aluminum extrusions. The

strength and stiffness of aluminum allows a very rigid structure that can

be precisely machined to accept drivers and other components. Special

contours can be achieved in aluminum that preserve the sonic

characteristics of the drivers.

The curved side panels are made from multiple layers of wood. Wood is

stiff relative to its weight and has inherently high damping properties to

absorb sonic energy that might otherwise color the sound. The sides of

the Synchrony models are made from seven layers of 3mm MDF

individually laminated/formed onto a curved surface which improves the

panel's stiffness. Additionally, the sides are clad in finely finished

veneers to enhance the beauty of the systems.

DRIVERS

Drivers (woofers and tweeters) are a key component to the performance

of the new Synchrony models. A number of enhancements elevate them

over previous components.

Distortion Reduced Motor

The field generated by a signal driving the voice coil reacts with the field

in the magnetic structure's air gap. A long four layer voice coil normally

results in high self induction and impedance that varies with excursion.

Owner’s Manual

These two factors causing distortion in bass drivers are practically

eliminated by the combination of an aluminum shorting ring within the

magnet structure, the aluminum phase plug on the pole piece, and a

shorted copper turn on top of the pole piece. The aluminum phase plug

smoothes response and also contributes as a heat sink for the voice coil,

reducing power compression. Long voice coils for all woofers (in a

narrow gap) ensure high and uniform BL vs. excursion, to maintain

dynamic linearity. The result is unbelievable clean bass/midrange

reproduction.

Laminated Sandwich Cone

The cones are constructed from a fine weave fiberglass cone material

along with a laminate of compressed, felted fiber laminate. This creates a

stiff but still dampened cone that will remain stable even under very large

sound pressures. In addition, a central dustcap gives a second

connection between the cone and voice coil. This triangulation provides

an incredibly rigid assembly for clean response to high level inputs.

CROSSOVER DESIGN

Great components and construction alone will not guarantee a good

sounding system. More than anything, the crossover is what defines the

sound of a speaker. The crossover determines the band of operation of

each driver and determines how seamlessly the units transition from one

range to the next. It sets the octave-to-octave balance that defines the

personality of the system. At PSB, years of design experience, highly

tuned sets of ears, and the unsurpassed facilities of the National

Research Council in Ottawa, lead to superior crossover design.

With the Synchrony One and Two Towers a unique driver/crossover

arrangement minimizes the unwanted effects of floor bounce induced

early reflections. These reflections interfere with the direct sound and

contribute peaks and dips to the response.

For the entire Synchrony series the crossover slopes are acoustical

fourth order Linkwitz-Riley type with attention paid to the direction of the

“in phase lobe”. The lobe, an inevitable effect of transitioning from driver

to driver, is optimally aimed. Whether seated or standing, the frequency

response of the system does not vary.

Crossover components are chosen to be the best quality possible.

Heavy multi-lamination iron cores are used for large value inductors.

High gauge wire air cored inductors are used medium and small value

inductors. All capacitors are especially low loss. Film capacitors are

used for mid and treble sections. Tight component tolerances and

exhaustive testing in manufacturing ensure that each system is a match

to the engineering references, giving you the sound quality that PSB

designed in.

Owner’s Manual

Additional features of the Synchrony models:

?1" Titanium Tweeter/Neodymium Motor/Aluminum Heat Sink. Low

mass for required stiffness needed for wide bandwidth response.

High efficiency and high power handling.

?Three chamber individually ported cabinet design (tower models)

gives greater control over the system tuning, resulting in deeper bass.

Doesn't suffer from the standing wave problems found in a typical

tower.

?Perforated Hex Acoustically transparent Metal Grill covered in cloth.

?Heavy duty gold plated five way binding posts (bi-wireable).

?Rigid Cast Aluminum Baskets with high flow design.

?Woofer suspensions (spiders) are ventilated to allow air to flow freely,

creating a cooling effect for the voice coil

?Woofers utilize a progressive (gradually tightening) suspension to

achieve soft clipping and low distortion even under extreme

excursion.

?Woofer surrounds are made from SBR rubber for wide operating

temperature range, low creep and long term reliability.

?Woofer magnets are 20mm thick, 5mm higher than the normal 15mm

magnets. This prevents bottoming of the coil to the pole piece for

widest dynamic range.

Warranty Registration

We recommend you take a few moments now to register your warranty

on-line at psbspeakers.com so that we will be able to serve you better in

the future.

Unpacking

The packing materials of your PSB Synchrony speakers are designed to

protect them from damage during shipping. Retain the packaging in case

the need arises to transport the speakers in the future.

Notes on environmental protection

At the end of its useful life, this product must not be disposed of with regular household

waste but must be returned to a collection point for the recycling of electrical and electronic

equipment. The symbol on the product, user's manual and packaging, point this out.

The materials can be reused in accordance with their markings. Through re-use, recycling

of raw materials, or other forms of recycling of old products, you are making an important

contribution to the protection of our environment.

Your local administrative office can advise you of the responsible waste disposal point.

Owner’s Manual

Adjusting Rubber Levelers

and Spikes

(Tower Speakers)

Attach the supplied spikes or rubber

levelers to the bottom of the speaker

as shown in the diagram at right. On

carpets, position the speakers and

adjust spikes to the desired height

(higher for thicker carpet) and hand

tighten the locknuts against the bottom

of the cabinet.

Adjusting Rubber Foot

(For Center Channel Models)

The Synchrony One C and Two C

center channel speakers come supplied

with a multi-position foot that allows

them to be placed at a variety of

angles.

Notice that the foot has a long edge and a

short edge. Either surface may be

attached to the system depending on the

angle of tilt required. An adhesive strip is

provided to permanently attach the foot to

the cabinet.

When placed below your viewing screen

you can tilt the system upwards by placing

the foot under the front edge of the

system. To aim the system straight

outward, place the foot under the rear

edge with the longer side in contact with

the system. It will be raised by the shorter

dimension. If the system is well above

your viewing screen and a downward tilt is

required, then attach the shorter

dimension to the back of the cabinet. This

will give the maximum rise for the greatest

downward tilt.

Apply the provided felt discs to the corners

of the opposite edge (front or back) to

prevent marring your system or equipment

cabinet.

Owner’s Manual

Wall Mounting Synchrony S Surrounds

Select and install wall-mounting brackets and hardware sufficient to hold

the weight of the speakers on the walls safely.

1. Use the “3 finger” style flush mount bracket (provided in Owner's

Manual Kit).

2. The speaker should be mounted at a minimum height of five feet

measured from the bottom of the speaker to the ground. The speaker

can be mounted on the wall beside or behind the listener. Screws

with sufficient length and located to solidly enter wood are preferred.

Metal anchors, which partially collapse inside the wall, provide greater

holding power than individual screws. Screws into plastic (or metal)

shield anchors in wallboard, tile, masonry, or concrete can provide

great holding power. Do not use the simple expanding type anchors

in wallboard. These are intended for use in masonry only. If a

fastener does not tighten securely, install another, larger fastener.

3. One of the brackets has already been installed on the cabinet. Install

the other matching bracket, with the interlocking finger facing up, on

the wall. Ensure the bracket is level and aligned to the desired

position and secure in place. Use the appropriate screws/fasteners

for the type and construction of the surface, taking into consideration

the weight of the speaker.

4. Wire the speaker before mounting on the wall. Maintain electrical

polarity throughout the system. Use the following polarity indicators

as applicable: red connects to: rib/+/print/copper wire and black to

smooth/-/blank/silver wire.

5. Place the speaker against the mounting surface and slide down,

interlocking the fingers of the brackets.

6. Carefully load test the installed speaker to ensure that it is secure and

safe.

7. THE INSTALLER IS RESPONSIBLE FOR A SAFE AND SECURE

INSTALLATION.

Owner’s Manual

All distances

are equal

All distances are equal

5.1 surround speaker placement 6.1/7.1 surround speaker placement

Speaker Placement — Maximizing Your Enjoyment

Proper loudspeaker placement is an essential ingredient to getting the

best sound from your high performance stereo, multi-channel audio or

home theater system. The goal is to reproduce faithfully the audio

soundtrack the movie director or music producer created without calling

any attention to the speakers themselves.

Fortunately, it is a straightforward process that just takes some care and

patience. Should you have a large room and the possibility to arrange

the room as you wish or if you are designing a room for home

entertainment refer to the diagrams shown here for ideal speaker

placement. In this arrangement all speakers (except the subwoofer) are

placed the same distance from the listener. In most cases, you’ll need to

adapt your speaker placement to a given room that’s less than ideal.

Here are a few speaker placement basics to keep in mind as you get

started:

A. You will generally get the best imaging and other spatial qualities if

your front left/right speakers and your usual seating position form

an almost equilateral triangle, with the speakers not quite as far

apart from each other as they are from you. If you must sit closer

to one speaker than the other, use the Balance control on your

electronics (or the individual level controls on home theater

channels) to give the more distant speaker a balancing boost in

volume.

B. Our tower speakers are designed for optimal listening from the

seated to standing position. For our monitors, we offer accessory

speaker stands to achieve the right height if you are not using

existing shelves or furniture.

C. The best high-frequency dispersion, producing the widest “sweet

spot” in which you and others can sit and enjoy optimum high-

frequency definition, will result when your main speaker

Owner’s Manual

enclosures are positioned vertically rather than horizontally. If you

are placing your monitors horizontally, the speakers will still

perform very well, but the seating area where you will enjoy

optimum sound will become narrower. We suggest you position

the tweeters to the outside away from the center line. You may

prefer to tilt the speakers towards ear level.

D. If you sit equally distant from both speakers, angling the speakers

inward (“toeing them in’) about 5 to 10 degrees usually produces

the best convergence of high frequencies where you listen.

Different listening positions may require different toe-in.

E. Surround speaker placement is covered in Section 4. Beyond

these basics, experiment with positioning for optimum

performance. Please read the placement guidelines that follow.

They are about the speakers, the room, and you.

1. The Speakers in Relation to Room Boundaries

The position of your speakers with respect to the walls, floor, and

ceiling of your listening room will often affect their sound in major

ways.

A. The closer you place speakers to the boundary surfaces of your

room, the greater the proportion of bass in their overall sound.

This is due to the enclosing, “focusing” effects of nearby surfaces

on longer-wavelength (lower) frequencies. Positioning the

speakers near the intersection of two surfaces (wall and wall, wall

and floor, or wall and ceiling) will produce more apparent bass

than placement near a single surface. The greatest proportion of

bass is delivered by placement near three intersecting

surfaces—in a room corner near the floor or ceiling, where the

convergence of the two walls and the floor/ceiling produces an

amplifying effect that is a bit like that of a megaphone. And the

least bass comes from placing a speaker away from all

boundaries. Your own tastes should decide what proportion of

bass response seems right in your room.

B. The combination of the three dimensions of your room generally

will produce at least three points in the room where the frequency

response you experience related to a given position (of either the

speaker or you) will either greatly increase or almost disappear.

The most obvious effects are on low frequencies, but mid-

frequency effects, while usually subtler, are also often present.

Keep in mind, then, that very small changes in positioning (of the

speakers or you) may produce major or subtle changes.

C. Distances of speakers from the walls can make great differences

in the number, strength, and particular frequencies of secondary

reflections—changing frequency-balance, sonic spaciousness,

and definition. Most listeners prefer their speakers at least a few

Owner’s Manual

inches from all walls, but the choice is yours to determine by

listening.

2. You in Relation to the Speakers

Where you sit in relation to your speakers obviously makes a

difference too. The proportions of the particular triangle formed by

your speakers and you matter. (You may need to send more power to

the more distant speaker to compensate if you get much further from

one speaker than the other.) The overall distances involved also

matter. As you get further from the speakers, more sound reflected

from your room’s surfaces (in contrast to the sound coming directly

from the speakers) reaches your ears, and the original spatial

relationships in a recording are changed as your room “takes over.”

Sometimes the result is a mellower, more “integrated” sound. Other

times, it’s a more strident or annoyingly “echoey”—or other—quality.

Once again, the particular dimensions of your room play a part. And

depending on what seems more realistic and/or enjoyable to your

ears, you may choose to sit at a great distance or have close-up,

“near-field” sound. Keep in mind that the right “toe-in,” the right

speaker height, and a reasonably symmetrical distance from the

speakers all tend to work together to deliver the best high-frequency

definition and imaging.

3. You in Relation to Room Boundaries

Changing your own position with respect to a room’s boundaries may

also bring a big effect, sometimes for a small change. Getting further

from the wall behind you may make sound more precise and

localized. Getting closer may make sound more “mellow” and

integrated. Coming too close—to back wall, side wall, or (especially)

a corner— you may experience a major peak or cancellation of a

certain band of frequencies. It depends on factors we can’t cover

fully here but do get into on our web site.

Remember too, with respect to your own positioning, that it may—or

may not—be easier to change your own seating location than to

move your speakers. As with so much else in life, the one certain rule

is that you shouldn’t fix, or worry about, what isn’t broken (audibly in

this case), especially if it means moving heavy furniture.

As you consider the three relationships we have outlined, the idea is

to manipulate whatever variable is easiest and most productive for

improving your listening experience. Be sure to base your judgements

on listening to a good variety of recordings of vocals, and acoustic

instruments, soloists, different movies and musical instruments to

most easily recognize tonal balance shifts.

Owner’s Manual

Bipole 5.1 System

Null Zone

Dipole 5.1 System

4. Positioning Surround Speakers

We are often asked about what kind of surround speakers are best:

dipole, bipole, or monopole (direct-radiator). Placement, room

acoustics, and other factors affect the sonic realism of movies and

multi-channel audio at least as much as the radiating characteristics

of a speaker. Therefore, we do not make specific recommendations

but rather suggest you discuss the best solution for your particular

needs with your authorized PSB audio/video specialty retailer or visit

our Web site. Bipole (speakers in-phase) or direct radiating surrounds

placed slightly BEHIND the listening position can offer an

exceptionally convincing diffuse soundfield without calling any

attention to the surround speakers themselves. It should be noted

that in the alternative dipole surround configuration the two baffles of

each surround speaker are out-of-phase with each other creating a

“null” or dead zone of sound in the area along the 90-degree axis of

the speaker. DIPOLE SURROUNDS MUST BE PLACED ON THE

SIDE WALLS DIRECTLY BESIDE THE LISTENING POSITION. The

effect is lost as soon as you move outside the “null”. All PSB

Synchrony Series speakers are timbre matched (have similar tonal

characteristics) for easy mix and match home theater system

flexibility and ultimate performance. Most surround sound is meant

more to create greater depth and overall ambience than to localize

effects as coming from a particular spot. How much you prefer these

localized effects vs. overall sonic depth and diffusion is up to your

listening preferences. If you are listening to multi-channel music from

DVD-Audio or SACD, you may want the maximum localization of

instruments. However, for most home theater applications a diffuse

soundfield might be preferred. You can locate and aim your surround

speakers to produce the effects you prefer, whether precisely

pinpointed or pleasantly diffused. For example, you may choose to

position monitors behind your listening position on stands at ear

height as shown in the diagram at right and, experiment with speaker

Owner’s Manual

— Surround Rear— — Surround Rear— — Surround Rear—

Figure 1

6.1/7.1 System using

two Synchrony S Surrounds

Figure 2

6.1/7.1 System using

three Synchrony S Surrounds

Figure 3

6.1/7.1 System using

four Synchrony S Surrounds

positioning relation to the listener to obtain the level of direct versus

diffuse sound that you prefer.

Most people find it best to mount

dedicated surround speakers like our

Synchrony S Surrounds on the side

walls slightly behind the prime

listening position and two feet above

ear height when seated (this typically

places the bottom of the speaker

about 5 feet (1.5 m) above the floor.)

The surround speakers can also be

mounted at ceiling level or on floor

stands if this is preferred but

remember to follow the wiring

requirements outlined in Surround Speaker Connections below. Also,

for those adding a rear center channel for 6.1 and 7.1 systems, the

Synchrony S offers several rear center surround solutions. The

Synchrony S Surround with both dual crossovers and speaker inputs,

provides exceptional wiring and placement possibilities for achieving

a diffuse soundstage. For example, the Synchrony S’s Tri-mode

Surround Speaker Placement™ (TSSP) design allows for easy

bipole or dipole wiring. In addition, it offers the possibility of using one

pair of Synchrony S for 6.1/7.1 systems by wiring the forward firing

baffles for the side surround channels and the rear firing baffles for

the rear center surrounds. The illustrations below show several

6.1/7.1 speaker placement options utilizing two, three or four

Synchrony S surrounds. Your PSB audio/video specialist will be able

to recommend the best placement options for your particular needs

and budget.

Note that when you move from Figure 1 through to Figure 3 power

handling improves, therefore the ability to produce wider dynamic

range increases. Also positioning additional Synchrony S Surrounds

allows for a more convincing, enveloping surround soundfield.

Owner’s Manual

Amplifier Output

Right

Left

Connections

Important: Always turn off your electronic equipment before connecting

speakers.

Selecting Speaker Wire

We recommend the

following gauge of

standard two-conductor

speaker wire for the

wiring distances

specified; if you prefer,

you can use heavier (lower-gauge) wire.

You may wish to audition and compare the performance of some of the

specialty audio interconnects and speaker cable available from your

dealer.

Conventional Wiring

Connect speakers identically to your amplifier or receiver on each panel

channel Red amp/receiver terminal to Red speaker terminal, Black to

Black. This will ensure that the diaphragms of the speakers on both

channels move forward and backward together (”in-phase”), rather than

in opposition (”out-of-phase”). In-phase connection provides maximum

clarity and bass, while out-of-phase connection results in frequency

cancellations and produces thinner and less distinct sound—with less

bass, vague vocal quality and no solid center image. To help ensure the

proper connection, the two separate conducting wires in a standard two-

conductor speaker cable are coded in one way or another to be

distinguishable from each other. (The jacket of one wire may be ribbed or

Owner’s Manual

Under 25 ft (7.5 m): 16-gauge – (1.3 mm )

25-50 ft (15 m): 14-gauge – (2.1 mm )

Over 50 ft (30 m): 12-gauge – (3.3 mm )

Bare Wire Connection Banana Plug Connection Spade Plug Connection

Loosen 1/2" (13mm)

wingnut. Insert wire

through hole and tighten

nut. Takes wire sizes up

to 8 gauge.

Insert banana plug into

the top of the wingnut.

Ensure the wingnuts are

tightened.

Loosen wingnut to expose

the top of the jumper strap.

A 1/4"(6mm) or 5/16"(8mm)

spade will fit on the

narrower section of the

post. Tighten the wingnut.

marked with ‘+’ plus signs, or one wire under the insulation may be

different from the other.) Use this wire coding, together with amp/receiver

and speaker colour-coding, to be sure you are connecting the same wire

of a given pair to a like-coded terminal at both ends of your connection.

Assure all wiring terminals are tightened firmly but be careful not to over

tighten and damage the connectors.

Bi-Wiring or Bi-Amping Options

PSB Synchrony speakers can be bi-wired (separate cables to the

separated woofers and midrange/tweeters from the same amplifier

(except on the Synchrony S Surround)) or bi-amped (separate

amplifiers). With single cable inputs, the jumper straps must be in place

and both sets of terminals tightened firmly. Before bi-wiring or bi-amping,

ALWAYS remove the metal jumper straps that connect the two sets of

binding posts on the speaker. Loosen ½” (13mm) wingnuts to remove the

jumper strap.With bi-amp hookup you must use either identical amplifiers

or amplifiers adjusted to have the same voltage gain. Consult your PSB

dealer or our Web site for further information.

Owner’s Manual

Bi-Amp Connections

First

remove

jumper

Front

Right

Left

Right

Left

Pre-amp

Left Amplifier Right Amplifier

First

remove

jumper

First

remove

jumper

Amplifier

Right

Left

Pre-amp

Bi-Wire Connections

Speaker Connection Options (For Synchrony S

Surrounds)

The captioned illustrations below show the following multi-channeled

configurations:

1. Bipole or direct radiating surround mode

2. Dipole surround mode

3. 6.1/7.1 system utilizing two (2) Synchrony S surrounds

4. 6.1/7.1 system utilizing three (3) Synchrony S surrounds

5. 6.1/7.1 system utilizing four (4) Synchrony S surrounds

Owner’s Manual

Bipole or direct radiating surround mode

Red

From amp

left SURROUND

channel

Black

From amp

left SURROUND

channel

Red

From amp

right SURROUND

channel

Black

From amp

right SURROUND

channel

Front

Dipole surround mode

Null Zone

Replace gold-plated jumpers with supplied wire jumpers and connect crisscrossed as shown.

Red

From amp

left SURROUND

channel

Black

From amp

left SURROUND

channel

First

remove

jumpers

First

remove

jumpers

Red

From amp

right SURROUND

channel

Black

From amp

right SURROUND

channel

First

remove

jumpers

First

remove

jumpers

Front

Wire Jumpers

Owner’s Manual

6.1/7.1 System Utilizing Two (2) Synchrony S Surrounds

— Surround Rear—

Red

From amp

left REAR

channel

Black

From amp

left REAR

channel

First

remove

jumpers

First

remove

jumpers

Black

From amp

right REAR

channel

First

remove

jumpers

Front

Red

From amp

left SURROUND

channel

Black

From amp

left SURROUND

channel

Black

From amp

right SURROUND

channel

Red

From amp

right REAR

channel

First

remove

jumpers

Red

From amp

right SURROUND

channel

Owner’s Manual

Black

From amp

right REAR

channel

Red

From amp

right REAR

channel

6.1/7.1 System Utilizing Three (3) S SurroundsSynchrony

— Surround Rear—

Front

Red

From amp

left SURROUND

channel

Black

From amp

left SURROUND

channel

Black

From amp

right SURROUND

channel

Red

From amp

right SURROUND

channel

First

remove

jumpers

Black

From amp

right SURROUND

channel

First

remove

jumpers

Red

From amp

right SURROUND

channel

Owner’s Manual

6.1/7.1 System Utilizing Four (4) Synchrony S Surrounds

— Surround Rear—

Red

From amp

left SURROUND

channel

Black

From amp

left SURROUND

channel

Red

From amp

right SURROUND

channel

Black

From amp

right SURROUND

channel

Front

Red

From amp

right REAR

channel

Black

From amp

right REAR

channel

Red

From amp

left REAR

channel

Black

From amp

left REAR

channel

Owner’s Manual

Synchrony Port Cover

A Port Cover accessory is

supplied with each tower

(Synchrony One and Two) and

center channel speaker

(Synchrony One C and Two C).

The port covers can be used to

adjust the bass tuning of the

Synchrony models where room

problems at low frequencies (in

the 100Hz region) occur. It is well

known that the room can

dominate the performance of the

low frequencies below 200Hz and

the added flexibility of a port cover

can tweak/improve the

performance in problem room

setups. For example, by covering

the top port on the Synchrony

Two the output in the 75Hz to

125Hz region will be reduced by

2dB.

The use of the port cover is not

limited to only closing one of the

ports in the case of the towers

(Synchrony One and Two). We

invite the listener to try plugging

any one or multiple ports to better

integrate the system in their room

because any adjustment of the

bass balance could be a welcome

improvement in a given system

setup. Please experiment; it will

be worth the effort in many cases.

It's impossible to predict what type

of room or what the system setup

will be, therefore we think the flexibility of multiple chambers and ports

allows the speaker to be integrated better in a wider variety of situations.

Sometimes tweaking like this can be used to really help “dial in” the best

possible sound in your room.

Additional Port Covers can be acquired for a nominal fee in cases where

multiple ports need to be covered to achieve the proper bass balance in

a given setup. One can also experiment with the Port Cover on the

bookshelf models (Synchrony One B and Two B) to tame the bass in

some setups.

Owner’s Manual

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PSB Speakers 6919217 User manual

Brand: PSB Speakers

Model: 6919217

Category: DJ controllers

Type: User manual

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PSB Speakers 6919217 User manual

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